So long.

It's nearing the final workday hours of Friday and our blog time has come to a close. In spite of lulling you into a daze with not one, not two, but three dreamy tracks you stuck it out. Wide eyed by Sam Rockwell's perfection of the pervert face and slack jawed by Tom Hardy's many vocal exploits.

Alas, the streaming pop culture archive that is the Guardian Guide Daily Friday edition is now over. We will return Monday. Until then check out our issue in not one, two or three but six seconds. You can enjoy the Black Keys confessions, trying to figure out Mia Wasikowska and everything you didn't know about Dolly Parton. Get 'em while supplies last.

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Dev Hynes and ANOTHER dreamy track.

From a dreamy coming of age flick. Blood Orange scored James Franco's subversive film based on his collection of short stories about his portrayal of adolescence in his hometown Palo Alto. Directed by Gia Coppola the film stars Emma Roberts and Franco. And seems to have a sort of Virgin Suicides vibe. With Hynes at the scoring the soundtrack is bound to be just as killer as Gia's aunt Sofia Coppola's 1999 Air soundtracked epic.

Ahh teenage-hood not translated by Stephanie Meyers. And with

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San Francisco post punk.

It is still sort of dreamy but it is from California where their is sun. So what do you expect. Cold Beat put out their debut album, over me on July 8.

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Twilight author is making more books to film.

It's is a teen action/drama about a young girl fighting to survive in a dystopian future by protecting her only source of water, the pond outside her home. Stephanie Meyers probably could have written it. But she didn't Mindy McGinnus did and now Meyer's film production company, Fickle Fish Films has acquired the rights.

That along with Anna Dressed in Blood. A teen tale about a young man who inherits the responsibility of killing the dead. A ghost-hunter of sorts. Who has a spirit sniffing cat. And a wtich for a mother.

From Brummie to Bane.

Locke was released last week. It is a road movie. You may ask yourself how the drive from Birmingham to London can make for an engaging film. Your answer: Tom Hardy's voice.

Listen just listen.

The frightening and addictive squealing of Bane.

Brooklyn gangster barmaid ramblings of Bob in James Gandolfini's posthumous film the Drop.

Though,apparently, his voice was not good enough for Nike addiction.

Edward Norton won that campaign. Could it be Norton's voice can invoke a need to jog more than Hardy? Or that when Hardy speaks you do not actually understand any of the words he says because his voice alone is so intoxicating?

Sam Rockwell and the art of the pervert face.

Clark Gregg and Sam Rockwell team up again for Trust Me. The two first got together for an adaptation of Chuck Palahniuk's Choke. Not nearly as sexually charged as the book, about a sex addict. The film covered the con-man side of Rockwell's character and the sex addict bit was done in Hollywood style (humorous and well lit).

Gregg directs Rockwell in the satirical Hollywood drama Trust Me.

Yes it features Shailene Woodley (the newest in a brigade of twenty something 'down to earth' blockbuster starlets). And yes it stars the talented director/ actor Gregg. But can we take a moment to talk about Sam Rockwell and all of his pervert faces?

Pervert with a conscience.

The obvious mime pervert.

Alluring pervert.

Futuristic pervert.

Spring break pervert.

No disrespect to Sam Rockwell. He is also considered a highly under-appreciated actor. From the deservedly hated as Wild Bill in The Green Mile to the relatable alcoholic in Seven Psychopaths, he kills it every time. Still an audience was needed to test the perfect pervert theory.

Singers who can't act and actors who can't sing.

The film which premiered as Can a Song Save Your Life at the Toronto International Film Festival stars Adam Levine, Mark Ruffalo and Keira Knightley. Knightley admits her voice wasn't the main draw for Carney's casting. Saying the "talkey-songy vibe" was perfect for her.

The whole thing with the actors who can't sing singing thing is that their faces are often attractive enough to detract from the horror of their vocal chords.

Exhibit A: mousey vocals, trumped by Knightley's mug.

But the singers who can't act thing is a little tougher to play out. Fortunately for Begin Again viewers Levine plays a pompous rockstar who finds himself sky rocketing to the top late in his career, leaving his female counterpart in the dust of normalcy. Not dissimilar to the story Levine's own Maroon 5. Who went whiney indie pop singer professional Victoria Secret model boyfriend and coach to sining hopefuls on the America's the Voice.

So he doesn't really have to act because he is playing on a silver screen version of himself. Though that can go also go wrong.

So very wrong.

It could be a better idea that singers don't sing in their acting roles. Or that they should try to stick to what they do best. Here is Knightley Levine duet. It is a love song. It is sufficiently alright.